@article{oai:tobunken.repo.nii.ac.jp:00006653,
 author = {関口, 正之 and Sekiguchi, Masayuki},
 issue = {280},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Apr},
 note = {This painted image of Rāgarāja which was recently acquired by the Ministry of Education is a comparatively small coloured painting on silk measuring 86.0 cm by 43.6 cm. The image faithfully follows the iconography mentioned in the Buddhist scripture Yugikyō (Ch. Yu-ch'iehching). Its iconographic characteristics are as follows: the third left arm holds nothing and is depicted in the form of a fist. The second right arm holds an arrow in front of the chest and fits it to the bow held by the second left hand. Sshaped, ray patterns radiate inside the halo.
     There are no other examples of painted Rāgarājas with these formal characteristics. The closest is the main image of the Rāgarāja Maṇḍala (fig. 1) owned by Nezu Art Museum. But in this case, too, the ornamental patterns of the drapery are different.
     An interesting fact is that a drawn image of Rāgarāja having the same form as the image with which we are concerned is illustrated in an iconographical book Besson Zakki (Taisho Tripitaka, Vol. 3 of Iconography Section, page 461) and there is added a note perhaps written by Priest Shinkaku (?-1180), the compiler of this book, stating that this form is the style of the example of the Endō (the Circular Hall) of the Ninnaji. According to the theory of Priest Kakukyō (1167– 1243) quoted in Sansōki Ruiju, the style of the Endō of the Ninnaji mentioned in Besson Zakki seems to mean the style of the image in the Sūtra House belonging to the Endō of the Ninnaji.
     Therefore, it is clear that this type of painted image of Rāgarāja existed before the time when Shinkaku compiled Besson Zakki and perhaps the work now in question was modelled after such a painting.
     The dominant colours of this work are red, orange and green, and the decorations of finely cut gold foil are used rather lightly. The orna mentation of the image as a whole is not so flamboyant. The drawn lines are not strongly accented. The curvilinear lines of the drapery, the hair and the patterns of the halo are not as wavy as they are in the Rāgarāja images of the Kamakura Period. This work as a whole has some traits of Late Heian Buddhist painting, and it might be said that it is the second oldest painted image of Rāgarāja now known, the image owned by the HOSOMI Family being the oldest. The author presumes the date of the production of this work to be around the very end of the Heian Period or the very beginning of the Kamakura Period, that is, toward the end of the twelfth century.},
 pages = {30--33},
 title = {図版解説　文化庁保管　愛染明王画像},
 year = {1972}
}